Drama Year 7 Curriculum Map Spring One: Silent Movie s.

Transcription

1 Autumn One: How do we use key skills and instructions that are essential to success in Drama lessons? How do we develop basic Drama skills in concentration, controlling your body and working as part of team? effective tableau s and understand points of contact, levels and focal points? and perform an effective improvisation? How do we use our tone of voice and body language to tell a story through numbers? Autumn Two: effective characterisation through stereotyping and situation? How do we use body language, movement and facial expressions to create a comedic narrative? How do we co-ordinate as a group to create a choral piece to music? How do we use thought tracking in drama for the actor and the audience? Drama Year 7 Curriculum Map Spring One: Silent Movie s. How do we identify and use a range of dramatic techniques to explore rehearse and present ideas? How do we use a range of techniques to convey character, situation and atmosphere through mime? How do we use a range of techniques to convey character, situation and atmosphere? How do we begin to plan and use a written stimulus to create a mime performance? How do we rehearse effectively, and how do we support group members with appropriate critical advice on their performing? Spring Two: Mime and Comedy. How do we use mime, slapstick and voiceovers in our mime performances? How do we build tension and create atmosphere on stage using chorus work? How do we use body language to show power and control while telling a narrative to build atmosphere and tension on stage? a whole class drama, encourage precise representation of character and stimulate a sustained improvisation? How do we write a responding assessment based on our knowledge and understanding of how to sustain a character through mime and Summer One: Dragon s over Liverpool. How do we use given circumstances and hot seating to develop the story of the Dragon s over Liverpool? How do we use freeze frames, thought-tracking and hot seating to create and develop the story of the Dragon over Liverpool? How do we build and develop moments of dramatic significance through plot and characters and use freeze frames and slow motion to accompany this process? How do we develop the story of the Dragon through hot seating and physical theatre and how do we recruit a Dragon Slayer? How do we develop the story of the Dragon s over Liverpool through using physical theatre? Summer Two: A Midsummer s Night Dream. How do we begin to examine and understand Shakespearian theatre conventions? the role of status in Shakespearian audiences through a soundscape? the different design roles in the theatre and how do we apply these to a Shakespearean extract? How do we embody and understand the characters of the fairies in A Midsummer Night s Dream? How do we embody and understand the characters of the Rude Mechanicals in A Midsummer Night s Dream?

2 How do we use flash backs and flash forwards together effectively with subtext? How do we perform a role through mime, how do we rehearse effectively, and how do we support group members with appropriate critical advice on their performing? improvisation? How do we develop the story of the Dragon s over Liverpool through using physical theatre soundscapes and thought tracking? How do we embody and understand the characters of the Rude Mechanicals in A Midsummer Night s Dream? on forming basic character through making and performing assessments. on creating and sustaining character through making and performing assessments. to control, make and sustain a mime Assessment Aims. to control, make and sustain a mime ability to use physical theatre in to work with Shakespeare from the page and design a performance from an extract. Body Language, gestures, imagination and facial expressions to allow improvisation. Control, confidence, concentration, trust, teamwork, spatial awareness, and communication. Experimenting with movement and gesture to create characters. Key Skills. Body language, facial expressions, gestures and silence in forming comedy. Physical theatre, working as a team and building structures and narrative through their body. Building and understanding the difference between key Shakespearean character groups. Body Language, gestures, imagination, facial expressions, silence and improvisation. Control, confidence, concentration, trust, teamwork, spatial awareness, and communication. Improvisation maintained and sustained. Key Words. Body language, facial expressions, gestures, silence and comedy. Physical theatre, teamwork and narrative. Mechanicals, fairies, royalty, lovers.

3 Autumn One: Stanislavski s Method Acting. How do we explore imagination and belief when exploring Naturalism? How do I train my physical apparatus such as my physicality and vocals to portray truth? How does the use of the acting technique the Magic If help with your process of being believable in character? How do I demonstrate my ability to use tempo and rhythm when developing my spy? How do we demonstrate the use of sense memory and emotional memory when employing truthful reactions? Autumn Two: Theseus and the Minotaur. How do we examine Greek theatre and the play text Theseus and the Minotaur? How do we examine and develop knowledge of the play text Theseus and the Minotaur and also to apply physical theatre to show the journey of Theseus from Greece to Crete? How to create the fight between Theseus and the Minotaur and the significance of marking the moment? How do we divide the story of Theseus and the Minotaur into five sections and apply an explorative strategy to each for performance to an audience? How do we rehearse and use explorative strategies within your adaptation of Theseus and the Minotaur such as masks, physical Drama Year 8 Curriculum Map Spring One: Johnny and the Dead. the actor/audience relationship created at the start of the How do we exaggerate characterisation and focus on before time/before the play began? atmosphere on stage using physical theatre and give audience an insight into the past of the characters? ensemble on soldiers in World War I and produce emotive drama using music and slow motion? statues for the soldiers of WW1 and hot seat a character using role Spring Two: Johnny and the Dead. How do we experience what it is like to be a new recruit and create this for an audience? How do we hold a debate in character with techniques such as role How do we use persuasive drama techniques to advertise modern technology to aliens? a media interview with Johnny and explore the afterlife? How do we explore the end of the play through role play, hot seating and captioning? Summer One: Coram Boy. How do we gain an understanding of the play and develop an understanding of symbolism? How do we explore the opening setting and context of the play in role and using physical theatre and thought tracking? How do we explore the characters of Meshak and Alexander, investigate the Coram Man through Marking the Moment? How do we select appropriate information from the novel and the play text to present a structured class debate? How do we explore tension within the play and novel whilst investigating the thoughts of particular characters? Summer Two: Coram Boy. how lighting and sound can be used to inform the atmosphere and add tension? How do we write in role and select appropriate information from the text? How do we use mime, music and sound effects to tell the story? the themes of the play and to think about casting decisions for characters? How do we use flash forward and thought tracking to explore events and ideas that occur outside the context of the

4 How do super-objectives, objectives and obstacles help actors to create realism in acting? theatre and still images? How do we rehearse for your assessment and perform your adaptation of Theseus and the Minotaur during the lesson? How do we focus on the character of Mr Grimm and create a back story for him? How do we recreate a zombie dance to show how the cemetery might look at midnight use choreographed and synchronised movement? How do we explore key character relationships within the How do we use mime, thought tracking, music, freeze frames and sound effects to enhance a chosen scene from the To assess the theories behind Stanislavski s method acting techniques. To demonstrate key concepts both theoretically and physically and appreciate Stanislavski s techniques. to work with the Greek Tragedy Theseus and Minotaur and create a piece of Greek theatre from learning about the period and style of to work with Johnny and the Dead from the page and understand the historical context of the play and the First World War. Assessment Aims. to work with Johnny and the Dead from the page and understand the historical context of the play and the First World War. understanding of Coram Boy based on the novel by Jamilia Gavin. understanding of Coram Boy based on the novel by Jamilia Gavin. Building and sustaining a spy in performance through Stanislavski s techniques such as sense and emotion memory and method acting. ability to recall Greek conventions of theatre and also their use of physical theatre to perform a narrative. understanding of the key historical issues dealt with in the script such as World War One. Key Skills. understanding of the key historical issues dealt with in the script such as World War One. understanding of the key terms in the plan through naturalistic and stylistic elements of Drama. understanding of the key terms in the plan through naturalistic and stylistic elements of Drama. Imagination, belief, physical apparatus, magic if, tempo, rhythm, sense and emotion memory, super objectives, objective, active objectives and obstacles. Labyrinth, Minotaur, Theseus, King Aegeus and King Minos. Flashback, slow motion, hot seating and status. Key Words. Role play, persuasive drama techniques, interview, captioning, choreographed and synchronised movement. Meshak, Alexander, poor, powerful, naïve, mysterious, quiet and posh. Grand, mean, wealthy, shy, frightening, confused, boastful and timid.

5 Autumn One: Commedia Dell Arte. How do we begin to examine and understand Commedia Dell Arte theatre conventions? How do we develop our knowledge of the stock characters in Commedia Dell Arte and create an improvisation inspired by the comedy art form? How do we develop our knowledge of the stock characters in Commedia Dell Arte and create an improvisation inspired by the comedy art form? a performance based around the key stock character of the Lazzi from Commedia Dell Arte? Autumn Two: How do we use key skills and instructions that are essential to success in Drama lessons? How do we develop basic Drama skills in concentration, controlling your body and working as part of team? effective tableau s and understand points of contact, levels and focal points? and perform an effective improvisation? Drama Year 9 Curriculum Map Spring One: effective characterisation through stereotyping and situation? How do we use body language, movement and facial expressions to create a comedic narrative? How do we co-ordinate as a group to create a choral piece to music? Spring Two: Drama Mediums. stage lighting and create specific lighting effects on the stage? How do we develop our knowledge and understanding of stage lighting to create atmospheres and moods upon the stage and label these onto a lighting plan together with creating the Book? set design through furniture and props and how do we create our own specific box set design for a scene from a How do we use stage make-up to apply a base, create shadow and extend old age to result in creating the monster of Frankenstein? Summer One: Gizmo. How do we read and understand the opening of a play and apply knowledge of Artaud s theory of sound? How do we read and understand the opening of a play and the contextual conventions used within it? and appreciate different dramatic styles such as mime and mime performers such as Marcel Marceau? How do we examine Marcel Marceau s ideas on mime and understand how they link to mirroring? Summer Two: Gizmo. and present narrative and dramatic devices such as flashbacks to explore how characters are feeling during moments of dramatic tension in Gizmo? how dramatic characters are created through dialogue such as antagonists? How do we convey a complex character, such as the undercover police office Sergeant Turner through our mannerisms, and how do we combine this with multi-rolling her undercover role as Cevril? and perform a short extract from Gizmo with a directorial intention for our audience?

6 How do we rehearse an improvisation/scenario ready for performance based on Commedia Dell Arte and how do we include a Lazzi into this assessment piece? How do we perform an improvisation/scenario based on Commedia Dell Arte and how do we include a Lazzi into this assessment piece? ability to understand the historical context of this theatre movement. Comedy in performance, Lazzi moments and accurate portray of stock characters. How do we use our tone of voice and body language to tell a story through numbers? on forming basic character through making and performing assessments. Body Language, gestures, imagination and facial expressions to allow improvisation. How do we use thought tracking in drama for the actor and the audience? How do we use flash backs and flash forwards together effectively with subtext? on creating and sustaining character through making and performing assessments. Control, confidence, concentration, trust, teamwork, spatial awareness, and communication. Assessment Aims. How do we write a responding assessment based on our knowledge and understanding of Drama Mediums? applied skills and understanding of Drama Mediums. Key Skills. Stage Lighting, stage make-up and stage management. the difference between what the character says and their hidden meaning in subtext? How do we perform the skills of mirroring, mime and subtext in scene three for a final assessment? understanding of key theatre practitioners such as Artaud and Marcel Marceau. Subtext, mime and theories of sound in How do we perform a short extract from Gizmo with a directorial intention for our audience? How do we write a responding assessment based on our knowledge and understanding of the characters in Alan Ayckbourn s Gizmo? ability to form a directorial intention and perform an extract from a contemporary play. Protagonists and antagonists and performance of complex characters. Lazzi, Stock Characters, Status, Costume/Mask, Stance, Mask and Relationships. Facial Expression, Tableau, Body Language, Gestures, Focal Point, Imagination, Voice, Performers, Character, Effective. Stereotyping, Flash Forwards and Backwards, Subtext, Thought Tracking and Choral. Key Words. Stage Lighting, Stage make-up and Stage management. Subtext, Mime, Artaud and Marcel Marceau. Protagonists and Antagonists.